‘Backrooms’ Gets Lost in Its Own Labyrinth

When Stanley Kubrick released The Shining in 1980, he was dinged by critics for the film’s relentlessly roving camerawork; “It’s like watching a skater do figure eights all night,” sighed Pauline Kael. Her complaint was that the film’s director was merely idling, an auteur on autopilot. But as usual, Kubrick was ahead of the curve—he was laying the template for several generations of horror filmmakers to come.